Saturday, 28 February 2009
Viral Production
After sitting around as digital files on my computer for almost a year I decided to get the Viral Portraits produced for my slot in the Waygood Boutique.
I am part of the Waygood's supporting artists programme which does what it says on the tin really. The massive redevelopment of Waygood's city centre gallery space in Newcastle is drawing close to completion and the Boutique, a small selling space on High Bridge in Newcastle, allows them to maintain a visible presence in the city throughout. During February/March work by Katy Merrington, Sarah Wales as well as the Viral Portraits will be showing at the Boutique.
The production involved working with printer Jack Lowe and framer Bruce Reid at Hoults Estates in Byker, Newcastle and Bay Plastics in North Shields. Jack kindly helped me to optimise the composite images and printed the archival inkjet images on Cotton Rag. Together with George Pickering at Bay Plastics a method of sandwich mounting the images between transparent oval Perspex sheets was designed, using transparent acrylic nuts and bolts to fasten. Bruce formed the final part of the process and was responsible for cutting and assembling the work. However, it became clear through the process that cutting by hand was not going to be able to provide the precision required so the prints are to be laser cut by Steve Brown at S.B. Signs in Newcastle upon Tyne.
The decision to produce the Viral Portraits in this way came about after my residency with the Medical Research Council's Virology Unit in Glasgow. I learned about a process used when gathering samples of virus particles known as vitrification. this process involves freezing material very quickly so it forms glass like ice with no visible crystals. Other more commonly recognised methods for studying samples involve using glass microscope slides. I really liked the idea presenting the images in a way which referenced these ways of looking, on an expanded scale.
My original plan was to show the Viral Portraits in their completed form at the Boutique and sell an edition of 10 small framed reproductions, also archival inkjet prints by Jack Lowe and framed by Bruce Reid. Unfortunately, production problems resulted in the original works not being ready in time and the smaller edition print being shown. The edition prints are presented in white frames with oval portrait style white mounts.
On a positive note, Helen Ratcliffe of Allenheads Contemporary Arts (ACA), where I am currently working on a Base Elements residency asked me if I would like to exhibit in the inaugural show at their newly renovated ACAdovetail gallery on Blandford Square in Newcastle. So the work will be able to show after all - phew! The opening of the show and launch of ACA's first book, both entitled 'Setting the Fell on Fire' will take place on April 2nd, more to follow....
I am part of the Waygood's supporting artists programme which does what it says on the tin really. The massive redevelopment of Waygood's city centre gallery space in Newcastle is drawing close to completion and the Boutique, a small selling space on High Bridge in Newcastle, allows them to maintain a visible presence in the city throughout. During February/March work by Katy Merrington, Sarah Wales as well as the Viral Portraits will be showing at the Boutique.
The production involved working with printer Jack Lowe and framer Bruce Reid at Hoults Estates in Byker, Newcastle and Bay Plastics in North Shields. Jack kindly helped me to optimise the composite images and printed the archival inkjet images on Cotton Rag. Together with George Pickering at Bay Plastics a method of sandwich mounting the images between transparent oval Perspex sheets was designed, using transparent acrylic nuts and bolts to fasten. Bruce formed the final part of the process and was responsible for cutting and assembling the work. However, it became clear through the process that cutting by hand was not going to be able to provide the precision required so the prints are to be laser cut by Steve Brown at S.B. Signs in Newcastle upon Tyne.
The decision to produce the Viral Portraits in this way came about after my residency with the Medical Research Council's Virology Unit in Glasgow. I learned about a process used when gathering samples of virus particles known as vitrification. this process involves freezing material very quickly so it forms glass like ice with no visible crystals. Other more commonly recognised methods for studying samples involve using glass microscope slides. I really liked the idea presenting the images in a way which referenced these ways of looking, on an expanded scale.
My original plan was to show the Viral Portraits in their completed form at the Boutique and sell an edition of 10 small framed reproductions, also archival inkjet prints by Jack Lowe and framed by Bruce Reid. Unfortunately, production problems resulted in the original works not being ready in time and the smaller edition print being shown. The edition prints are presented in white frames with oval portrait style white mounts.
On a positive note, Helen Ratcliffe of Allenheads Contemporary Arts (ACA), where I am currently working on a Base Elements residency asked me if I would like to exhibit in the inaugural show at their newly renovated ACAdovetail gallery on Blandford Square in Newcastle. So the work will be able to show after all - phew! The opening of the show and launch of ACA's first book, both entitled 'Setting the Fell on Fire' will take place on April 2nd, more to follow....
Saturday, 7 February 2009
In the Ether...
In 2007 I was exploring technology's role as a mediator of interaction. One idea from this time was to weave with network cable. I proposed installing the weave as an integrated and functional part of the infrastructure of a building, some text from the proposal...
'My ideas stem from an interest in the innate and engineered similarities between man and machine and what it means to be human in a technologically homogenised world. In particular how our convergence with technology as a means to communicate and interact effects how we construct our idea of self....
With advice from network engineer Daniel Barella and independent curator and creator of the Open Source Embroidery project Ele Carpenter, I have developed a data fabric. This fabric is woven, using a homemade loom and network cable as a data thread, allowing safe transfer of information through the cable with no interference to the signal strength... Network cable is responsible for forming a connections, transferring data - the blood of the machine. I would like to propose incorporating the data fabric into the architectural fabric of the building, splicing it into the network, into the existing structure, beneath the surface. Fusing the ancient art of weaving with modern technological applications, the work becomes an integrated part of the system with functional as well as aesthetic properties.'
Though these ideas were never fully realised Ele Carpenter has continued to show a swatch of the work as part of the Open Source Embroidery project, exploring the interconnectedness of craft and code. This evolving body of work has led to her undertaking residencies with Isis Arts, Newcastle upon Tyne, UK; Access Space, Sheffield, UK and currently with HUMlab, Umea University, Sweden. And to showings for the Ether (Swatch) as part of Open Source Embroidery: Craft + Code at furtherfields's HTTP gallery, London, and at the HUMlab Syjunta, Sweden.
Images of the creation of the Ether (Swatch):
Images from the recent HUMlab Syjunta show in Umea, Sweden, acting as a conduit to transfer Ian Clarke's web based work PHP Embroidery onto the screen:
'My ideas stem from an interest in the innate and engineered similarities between man and machine and what it means to be human in a technologically homogenised world. In particular how our convergence with technology as a means to communicate and interact effects how we construct our idea of self....
With advice from network engineer Daniel Barella and independent curator and creator of the Open Source Embroidery project Ele Carpenter, I have developed a data fabric. This fabric is woven, using a homemade loom and network cable as a data thread, allowing safe transfer of information through the cable with no interference to the signal strength... Network cable is responsible for forming a connections, transferring data - the blood of the machine. I would like to propose incorporating the data fabric into the architectural fabric of the building, splicing it into the network, into the existing structure, beneath the surface. Fusing the ancient art of weaving with modern technological applications, the work becomes an integrated part of the system with functional as well as aesthetic properties.'
Though these ideas were never fully realised Ele Carpenter has continued to show a swatch of the work as part of the Open Source Embroidery project, exploring the interconnectedness of craft and code. This evolving body of work has led to her undertaking residencies with Isis Arts, Newcastle upon Tyne, UK; Access Space, Sheffield, UK and currently with HUMlab, Umea University, Sweden. And to showings for the Ether (Swatch) as part of Open Source Embroidery: Craft + Code at furtherfields's HTTP gallery, London, and at the HUMlab Syjunta, Sweden.
Images of the creation of the Ether (Swatch):
Images from the recent HUMlab Syjunta show in Umea, Sweden, acting as a conduit to transfer Ian Clarke's web based work PHP Embroidery onto the screen:
Friday, 6 February 2009
Base Elements
I have been selected by Allenheads Contemporary Arts (ACA) for one of their Base Elements residencies. I will be continuing with my current line of enquiry, exploring connections between symbolic languages and imagery of science, mythology and spirituality.
During the residency I will be pursuing existing collaborations with scientists in the field of Virology at the Medical Research Council's virology Unit in Glasgow and spending time developing ideas for new work in Allenheads. Following an initial meeting with Alan Smith and Helen Ratcliffe (founders of ACA) I am thinking of exploring the mining history of the surrounding landscape at Allenheads, in particular looking at the geometric crystalline structure of minerals mined in the area. I will visit nearby Killhope Lead Mining Museum which is home to the National collection of Spar Boxes, displays created by the miners to display Fluorspar and other minerals unearthed as the commercial byproducts (tailings) of lead mining.
During the residency I will be pursuing existing collaborations with scientists in the field of Virology at the Medical Research Council's virology Unit in Glasgow and spending time developing ideas for new work in Allenheads. Following an initial meeting with Alan Smith and Helen Ratcliffe (founders of ACA) I am thinking of exploring the mining history of the surrounding landscape at Allenheads, in particular looking at the geometric crystalline structure of minerals mined in the area. I will visit nearby Killhope Lead Mining Museum which is home to the National collection of Spar Boxes, displays created by the miners to display Fluorspar and other minerals unearthed as the commercial byproducts (tailings) of lead mining.
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